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    <div id="tip_area"><p id="tip_article">济宁医学院精神卫生学院英语翻译竞赛参评译文</p></div>
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        <div class="article_title_area">            
            <div class="studentcn article">
                <p class="author_tip">LLM 同学译文</p>
                <p class="article_title">用语调说话</p>
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            <div class="english article">
                <p class="author_tip">英文原文</p>
                <p class="article_title">Speaking in Tones</p>
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            <div class="teachercn article">
                <p class="author_tip">W 老师修改的译文</p>
                <p class="article_title">用音调说话</p>
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        <div id="first_paragraph" class="paragraph">
            <div class="studentcn article">
                <p>在大脑中，音乐和语言是伙伴。我们对歌曲的感觉帮助我们学习，说话，读书，甚至交朋友。</p>
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            <div class="english article">
                <p>Music and language are partners in the brain. Our sense of song helps us learn to talk, read and even make friends By Diana Deutsch</p>
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            <div class="teachercn article">
                <p>在脑中音乐和语言是相伴的。我们对歌曲的感知帮助我们学习说话、阅读、甚至交朋友。</p>
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        <div class="paragraph">
            <div class="studentcn article">
                <p>在1995年夏天的一个下午发生了一件奇怪的事。我在我正在准备的关于音乐和大脑的一张CD上调整我口说的评论。为了检查录音里的小故障，为了能反复听到我口说的评论，我打开了循环播放。在那时，我独自一人在房间里，我让这句话“有时奇怪地做出行为，”循环播放之后，开始做别的事，然后忘了这件事。突然我好像听见一个奇怪的女人在唱歌！在扫视周围发现没有人后，我意识到我听见的是我自己不断地重复那个短语的声音——但是现在，听到的不是我说的话，我觉察到一段旋律从扩音器中流淌出来。通过简单的重复过程，我的话变成了歌曲。</p>
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            <div class="english article">
                <p>One afternoon in the summer of 1995, a curious incident occurred. I was fine-tuning my spoken commentary on a CD I was preparing about music and the brain. To detect glitches in the recording, I was looping phrases so that I could hear them over and over. At one point, when I was alone in the room, I put one of the phrases, "sometimes behave so strangely," on a loop, began working on something else and forgot about it. Suddenly it seemed to me that a strange woman was singing! After glancing around and finding nobody there, I realized that I was hearing my own voice repetitively producing this phrase—but now, instead of hearing speech, I perceived a melody spilling out of the loudspeaker. My speech had morphed into song by the simple process of repetition.</p>
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            <div class="teachercn article">
                <p>1995年夏天的一个下午，发生了一件奇怪的事。我在一张光盘上修改我正准备的关于音乐和脑的口头评论。为了检查录音里的小问题，我循环播放语句以便能反复地听。当时我独自在屋，我把“有时表现如此奇怪”这句循环播放后，就去做别的事，把这件事忘了。突然好像一个奇怪的女人在唱歌！看了看周围发现没人，我意识到我听见的是我自己的声音在不断重复那个短语—但现在，我听到的不是说话，而是感知到一段音乐从喇叭中流出。通过简单的重复过程，我的话变成了歌曲。</p>
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            <div class="studentcn article">
                <p>我之后发现这种惊人的感知上的转换发生在大多数人身上，表明了说话和歌唱之间的界限是脆弱的。作曲家利用了音乐与演讲之间强大的联系，例如，把平常说的单词和短语合并到他们的创作中。此外，许多的发音好像在徘徊在说话与歌唱之间，包括宗教的赞美诗和咒语，演讲术，歌剧的朗诵调（在歌剧中类似唱普通的对话的一种表现形式），街头小贩的吆喝和一些说唱音乐。</p>
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            <div class="english article">
                <p>This striking perceptual transformation, which I later found occurs for most people, shows that the boundary between speech and song can be very fragile. Composers have taken account of the strong connections between music and speech, for example, incorporating spoken words and phrases into their compositions. In addition, numerous vocalizations seem to fall near the boundary between speech and song, including religious chants and incantations, oratory, opera recitative (a style of delivery in opera resembling sung ordinary speech), the cries of street vendors and some rap music.</p>
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            <div class="teachercn article">
                <p>后来我发现许多人都出现过这类情况，这种惊人的知觉转换表明言语和乐曲之间的界限可能是非常脆弱的。例如，作曲家已注意到音乐和言语之间的密切联系，将口头词语融入了他们的作品中。此外，许多发音似乎处在说话与唱歌之间，包括宗教的赞美诗和咒语，演说，歌剧的朗诵调（歌剧的一种表现形式，类似唱出通常的讲话），街头小贩的吆喝和一些说唱音乐。</p>
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        <div class="paragraph">
            <div class="studentcn article">
                <p>然而几十年来音乐家的经验和偶然的观察者与如下的科学观点相冲突，那就是管理演讲和音乐的大脑区域是分开的。然而，最近，当复杂的神经成像技术提供大量的证据证明大脑中管理音乐和语言的区域部分重叠，心理学家，语言学家和神经系统科学家改变了他们的说法。最新的数据表明这两者事实上相互交织，对音乐的意识对婴儿的语言发展是至关重要的，甚至能帮助增强婴儿与母亲的联系。一些研究表明，随着儿童逐渐长大，音乐训练能够培养他们的交流技巧，甚至他们的阅读能力。除此之外，音乐与语言之间的神经病学联系表现在如下方面：一个人本地的语言影响他或她对音乐的感知方式。由于聆听者成长中学习的语言的不同，同样一段连续的音符会听起来截然不同，运用有音调的语言的演讲者比如满清官员比起西方人更可能拥有完美的音高。</p>
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            <div class="english article">
                <p>And yet for decades the experience of musicians and the casual observer has clashed with scientific opinion, which has held that separate areas of the brain govern speech and music. Psychologists, linguists and neuroscientists have recently changed their tune, however, as sophisticated neuroimaging techniques have helped amass evidence that the brain areas governing music and language overlap. The latest data show that the two are in fact so intertwined that an awareness of music is critical to a baby's language development and even helps to cement the bond between infant and mother. As children grow older, musical training may foster their communication skills and even their reading abilities, some studies suggest. What is more, the neurological ties between music and language go both ways: a person's native tongue influences the way he or she perceives music. The same succession of notes may sound different depending on the language the listener learned growing up, and speakers of tonal languages such as Mandarin are much more likely than Westerners to have perfect pitch.</p>
            </div>
            <div class="teachercn article">
                <p>然而几十年来音乐家和偶然的观察者的经验一直与科学观点相冲突，这种观点认为管理言语和音乐的大脑区域是分开的。近来心理学家，语言学家和神经科学家已改变了他们的论调,因为尖端的神经成像技术已协助积累了证据，表明管理音乐和语言的脑区是重叠的。最新的数据显示，音乐和语言事实是如此密不可分，以至于音乐感知对婴儿的语言发育至关重要，甚至能帮助增强母婴之间的联系。一些研究提示，随着儿童长大，音乐训练能培养他们的交流技能，甚至他们的阅读能力。此外，音乐与语言之间的神经联系是双向的：一个人的母语影响他/她感知音乐的方式。同样一段连续的音符可能听起来不同，取决于聆听者成长中学习的语言，讲声调语言如普通话的人，很可能比西方人有音阶辨别力。</p>
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        <div class="article_title_area">
            <div class="studentcn article">
                <p class="article_title">单词交响乐</p>
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            <div class="english article">
                <p class="article_title">Word symphonies</p>
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            <div class="teachercn article">
                <p class="article_title">单词交响曲</p>
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        <div class="paragraph">
            <div class="studentcn article">
                <p>音乐家和哲学家长期以来一直主张话语与旋律是相互联系的。俄国作曲家Modest Mussorgsky相信音乐和谈话在本质上如此相近以至于作曲家能够在脑海中重现一段对话。他写信给自己的好朋友Rimsky-Korsakov道：“不论我听到了什么样的演说，不管谁在讲话……我的大脑会立即为演讲做一个音乐上的阐述。”的确，当你听到他的一些钢琴曲和管弦乐曲，你会突然发现你在“听”俄罗斯语言。</p>
            </div>
            <div class="english article">
                <p>Musicians and philosophers have long argued that speech and melody are interconnected. Russian composer Modest Mussorgsky believed that music and talk were in essence so similar that a composer could reproduce a conversation. He wrote to his friend Rimsky-Korsakov: "Whatever speech I hear, no matter who is speaking … my brain immediately sets to working out a musical exposition of this speech." Indeed, when you listen to some of his piano and orchestral works, you may suddenly find that you are "hearing" the Russian language.</p>
            </div>
            <div class="teachercn article">
                <p>音乐家和哲学家长期一直主张言语和音乐相互联系。俄国作曲家Modest Mussorgsky相信音乐和谈话本质上非常相近以至于作曲家能够重现一段对话。他给朋友Rimsky-Korsakov 写信提到：“不论我听到什么样的讲话，不管谁在讲话…我的大脑会立即为讲话做出音乐说明。”的确，当你听他的一些钢琴曲和管弦乐曲，你会突然发现你在“听”俄罗斯语言。</p>
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        <div class="paragraph">
            <div class="studentcn article">
                <p>尽管有这些关于演讲和音乐之间联系的非正式的证据，在20世纪中期，原来起支持态度的研究者在部分程度上受那些脑损伤影响了他们的说话能力却没有影响他们的音乐能力的病人的影响——开始支持相反的观点。大脑分为两个半球，这些专家假设它们的功能被灵妙的组织起来，语言区居住在左半球，音乐在右半球。他们的理论是有关说话的神经信号绕过了声音加工的普通途径，取而代之的是在在大脑左半球的模块被分析。一般认为那个区域不处理非语言的声音比如说音乐。相似的，这个理论指出，右半球不处理说话声音的模块起着加工音乐的作用。这种吸引人的二分法变得非常流行以至于几十年来它有效地阻止了任何认为语言和音乐可能在神经病学和功能上是相互联系的想法。</p>
            </div>
            <div class="english article">
                <p>Despite such informal evidence of the ties between speech and music, researchers — bolstered in part by patients whose brain damage affected their speech but spared their musical ability — began espousing the opposite view around the middle of the 20th century. The brain divides into two hemispheres, and these experts hypothesized that its functions were just as neatly organized, with language residing on the left side and music on the right. Their theory was that the neural signal for dialogue bypassed the usual pathways for sound processing and instead was analyzed in an independent "module" in the brain's left hemisphere. That module supposedly excluded nonverbal sounds such as music. Similarly, the theory went, music was processed in a right-hemisphere module that excluded speech sounds. This attractive dichotomy became so popular that it effectively shut out for decades any thought that language and music might be neurologically—and functionally—intertwined.</p>
            </div>
            <div class="teachercn article">
                <p>尽管有这些言语和音乐相联的非正式证据，大约在20世纪中期，研究者开始支持相反的观点，也是部分地受一些脑损伤病人的影响，他们的脑损伤影响了说话但没影响他们的音乐能力。大脑分为两个半球，这些专家假设它的各项功能安排也同样简单，语言位于左半球，音乐在右半球。他们的理论是对话的神经信号绕过通常的声音处理通路，在大脑左半球一个独立的模块中分析。那个模块据说不分析非语言声音例如音乐。同样，这个理论还认为，音乐在右半球的一个模块中处理，这个模块不处理语音。这种有吸引力的二分法非常流行以至于几十年来它有效地阻止了任何认为语言和音乐可能在神经和功能上密切联系的想法。</p>
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        </div>
        <div class="paragraph">
            <div class="studentcn article">
                <p>不过，到了20世纪90年代晚期，一代年轻的在演讲和歌曲的分离上没有明确认识的研究者开始质疑这种观点。他们带来的明显的的数据表明音乐的一些方面占用左半球比右半球多。新的先锋实验，其中有很多由暴露技术引导，例如功能性核磁共振，表明音乐和演讲并不像研究者想的那样在神经病学上是分离的。</p>
            </div>
            <div class="english article">
                <p>But then, by the late 1990s, a generation of young researchers who did not have a stake in the separation of speech and song began questioning the idea. They brought to light existing data indicating that some aspects of music engage the left hemisphere more than the right. In addition, pioneering new experiments, many of which were conducted with emerging technology such as functional magnetic resonance imaging, showed that music and speech are not as neurologically separate as researchers had supposed.</p>
            </div>
            <div class="teachercn article">
                <p>不过，到了20世纪90年代晚期，一代年轻的研究者对分开讲话和唱歌没那么投入，开始质疑这种观点。他们提出的现有数据表明音乐的一些方面占用左半球比右半球多。新的开创性实验，其中很多使用新兴技术例如功能性磁共振成像，也显示音乐和言语并不像研究者曾假设的在神经方面是分离的。</p>
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        </div>
        <div class="paragraph">
            <div class="studentcn article">
                <p>一项调查证明对音乐的感觉和欣赏会侵犯被权威地认为是语言处理器的脑区域。在2002年的一项调查中，神经系统科学家Stefan Koelsch和他的同事在德国莱比锡城的研究人类认知和脑科学的马克思·普朗克协会介绍了给予一连串的和弦并用功能的核磁共振成像去监视他们的大脑的参与者。他们发现这项任务引起了两侧大脑的活动，但是在左半球的两个区域，Broca区域和Wernicke区域［看此页反面的示例］尤其显著，这两个区域在语言加工方面是至关重要的，而且很多调查者已经假定这两个区域是单独地专注于这项功能。其他的最近的研究已经揭露说话刺激很多与要求歌唱的类似任务刺激的相同的脑区域。以上和其他实验的很多发现建立了专注于说话和唱歌的神经网络显著地部分重叠的观点。</p>
            </div>
            <div class="english article">
                <p>One line of investigation demonstrated that the perception and appreciation of music could impinge on brain regions classically regarded as language processors. In a 2002 study neuroscientist Stefan Koelsch, then at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig, Germany, and his colleagues presented participants with sequences of chords while using functional MRI to monitor their brains. They found that this task prompted activity on both sides of the brain but most notably in two regions in the left hemisphere, Broca's and Wernicke's areas [see illustration on opposite page], that are vital for language processing and that many researchers had assumed were solely dedicated to this function. Other more recent studies have revealed that speaking activates many of the same brain regions as analogous tasks that require singing. These and dozens of findings by other experimenters have established that the neural networks dedicated to speech and song significantly overlap.</p>
            </div>
            <div class="teachercn article">
                <p>同样的研究证明，感知和欣赏音乐能影响通常认为是处理语言的脑区。在2002年的一项研究中，当时还在德国莱比锡马克思·普朗克人类认知与脑科学研究所的神经科学家Stefan Koelsch和其同事，给参试者呈现一连串的和弦，同时使用功能核磁共振成像监测他们的大脑。他们发现这项任务促进了大脑两侧的活动，但最明显的是在左半球的两个区域，Broca区和Wernicke区［见对页的图示］，这两个区域是重要的语言加工区，许多研究人员曾认为这两个区域是专门用于这项功能的。其他最近的研究已经显示，讲话激活的许多脑区与唱歌激活的脑区一致。上述发现和其他实验者的众多发现证实，专门用于说话和唱歌的神经网络有明显的重叠。</p>
            </div>
        </div>
        <div class="paragraph">
            <div class="studentcn article">
                <p>这种重叠是情理之中的，因为语言和音乐有很多的共同点。他们都被语法支配，在语法中，基本的元素依照建立起来的规则分级地组织成一定的顺序。在语言中，单词合并起来组成短语，这些短语又结合形成更复杂的短语，这些更复杂的短语又依次结合组成句子。相似地，在音乐中，音符结合组成乐句，乐句相互联系形成更大的乐句，等等。因此，不管是去理解语言或是音乐，聆听者必须用从经验中吸收的规则去推断他们所听到一段语言或音乐的构造。</p>
            </div>
            <div class="english article">
                <p>This overlap makes sense, because language and music have a lot in common. They are both governed by a grammar, in which basic elements are organized hierarchically into sequences according to established rules. In language, words combine to form phrases, which join to form larger phrases, which in turn combine to make sentences. Similarly, in music, notes combine to form phrases, which connect to form larger phrases, and so on. Thus, to understand either language or music, listeners must infer the structure of the passages that they hear, using rules they have assimilated through experience.</p>
            </div>
            <div class="teachercn article">
                <p>这种重叠是有道理的，因为语言和音乐有很多的共同点。它们都受语法支配，即基本元素依照确定的规则分级排列成序。在语言中，单词结合组成短语，短语结合形成更长的短语，更长的短语又组合成句子。同样，在音乐中，音符结合组成乐句，乐句结合形成更长的乐句，等等。因此，不管是去理解语言还是音乐，聆听者都必须用从经验中掌握的规则去推断所听到段落的结构。</p>
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        </div>
        <div class="paragraph">
            <div class="studentcn article">
                <p>此外，话语有一种叫做韵律的天然旋律。韵律包含了全部的音高和音域，音廓（音高升高和降低的模式），响度的变化，节奏和拍子。韵律学的特性常常反应说话者的情感状态。当人们高兴或兴奋，他们经常地说的更快，有更高的音高和更广的音域；当人们悲伤时，他们倾向于说的更慢，声音低沉，有很少的音高变化。韵律也帮助我们理解演讲的流畅和意义。短语之间的分界线通常用停顿标记，短语的结束倾向于通过更低的音高和慢速的演说辨别。而且，重要的单词往往有更高的音高。有趣的是，说话的一些音高和调速特点也发生在音乐中，这表明了重叠的神经电路可能与之有关。</p>
            </div>
            <div class="english article">
                <p>In addition, speech has a natural melody called prosody. Prosody encompasses overall pitch level and pitch range, pitch contour (the pattern of rises and falls in pitch), loudness variation, rhythm and tempo. Prosodic characteristics often reflect the speaker's emotional state. When people are happy or excited, they frequently speak more rapidly, at higher pitches and in wider pitch ranges; when people are sad, they tend to talk more slowly, in a lower voice and with less pitch variation. Prosody also helps us to understand the flow and meaning of speech. Boundaries between phrases are generally marked by pauses, and the endings of phrases tend to be distinguished by lower pitches and slower speech. Moreover, important words are often spoken at higher pitches. Interestingly, some pitch and timing characteristics of spoken language also occur in music, which indicates that overlapping neural circuitries may be involved.</p>
            </div>
            <div class="teachercn article">
                <p>此外，讲话有自然的语调叫韵律。韵律包含了全部的音高和音域，音轨（音阶升高和降低的模式），响度的变化，节奏和拍子。韵律的特性常常反应说话者的情绪状态。当人们高兴或激动时，他们常常说的较快，声音较高并且音域较宽；当人们悲伤时，他们往往说的较慢，声音较低，音高变化较少。韵律也帮助我们理解讲话的语流和语意。短语之间的分界通常用停顿表示，短语的结束往往通过较低的音高和较慢的讲话进行区分。而且，重要的词语常常用较高的声音说出。有趣的是，口语的一些音高和时间特性也发生在音乐中，这表明可能与重叠的神经环路有关。</p>
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            <div class="studentcn article">
                <p class="article_title">意味深长的旋律</p>
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            <div class="english article">
                <p class="article_title">Meaningful melodies</p>
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            <div class="teachercn article">
                <p class="article_title">富有含义的语调</p>
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            <div class="studentcn article">
                <p>在出生时，婴儿就已经熟悉了妈妈讲话的旋律。从子宫里分娩开始的录音揭露母亲产生的说话声音能够大声地被婴儿听到。那些到达婴儿的短语已经通过母亲的组织过滤，然而，结果是那些载有用来鉴别单词意义的脆的，高频的声音会变得柔和，然而话语中音乐的特性——它的音廓，响度的变化，拍子和有节奏的模式—被很好的保留。</p>
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            <div class="english article">
                <p>At birth, babies are already familiar with the melody of their mother's speech. Audio recordings taken from inside the womb at the beginning of labor reveal that speech sounds produced by the mother can be loudly heard. The phrases reaching the baby have been filtered through the mother's tissues, however, so that the crisp, high frequencies — which carry much of the information important for identifying the meanings of words — are muted, whereas the musical characteristics of speech — its pitch contours, loudness variations, tempo and rhythmic patterning — are well preserved.</p>
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            <div class="teachercn article">
                <p>出生时，婴儿就已经熟悉了妈妈讲话的语调。分娩时子宫内的录音显示，母亲的说话声能很响地被听到。但婴儿听到的那些短语已经过母亲的组织过滤，所以载有辨别词义重要信息的清脆、高频声会变得柔和，而话语中的音乐特性—它的音轨，响度的变化，拍子和有节奏的模式——被很好的保留。</p>
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                <p>这种讲话的旋律好像发生在母亲—孩子连结的阶段。在1980年发布的有独创性的实验中，格林斯博罗市的北卡罗莱纳州大学的心理学家Anthony J. De-Casper和如今在哥伦比亚大学的William P. Fifer，当新母亲大声地读一个故事时进行了录音。在这个实验的设置中，新生婴儿能通过吮吸橡皮奶头这种已经学会很长时间的方法打开录音，比起其他女人，当它们听到他们母亲的声音时他们会吮吸的更加频繁。调查者推断新生儿更加喜欢倾听在他们出生前已经熟悉的声音。然后，在1996年，在塔拉斯市德克萨斯大学的心理学家Melanie J. Spence 和 Mark S. Freeman报告做了一个简单的实验，实验中为了让女性的声音像来自子宫中，他们用一个低穿过率的过滤器裹住记录的女性声音。新生儿们比起其他女人的声音更喜欢母亲的过滤后的声音，再次表明在子宫中婴儿已经熟悉了他们的母亲表达的旋律。</p>
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            <div class="english article">
                <p>These spoken melodies seem to set the stage for mother-child bonding. In an ingenious experiment published in 1980, psychologists Anthony J. DeCasper of the University of North Carolina at Greensboro and William P. Fifer, now at Columbia University, recorded new mothers reading a story out loud. In this experimental setup, the newborn babies could turn on the recordings by sucking on a pacifier, a connection they learned over time, and they sucked more frequently when their actions produced their mothers' voices compared with those of other women. The researchers reasoned that the newborns preferred to listen to the voices with which they had become familiar before birth. Then, in 1996, psychologists Melanie J. Spence and Mark S. Freeman of the University of Texas at Dallas reported carrying out a similar experiment in which they used a low-pass filter to muffle recorded female voices so that they sounded as they would in the womb. The newborn babies preferred their mothers' filtered voices over those of other women, again indicating that they had become familiar with the melodies of their mothers' utterances in the womb.</p>
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            <div class="teachercn article">
                <p>这些口语语调似乎为母子联系打下了基础。在1980年发表的一个巧妙研究中，格林斯博罗市北卡罗莱纳大学的心理学家Anthony J. DeCasper和如今在哥伦比亚大学的William P.Fifer，录下了新母亲大声读一个故事的声音。实验设置中，新生婴儿经学习建立联系后能通过吮吸橡皮奶嘴打开录音，当他们的行动使母亲的声音出现时，他们会吮吸的比较频繁，而出现的是其他女人的声音时，吮吸的则不频繁。研究者推断，新生儿喜欢听他们出生前已经熟悉的声音。随后，1996年，达拉斯市德克萨斯大学的心理学家Melanie J. Spence 和 Mark S.Freeman报道了一个类似的实验，他们使用低通透过滤器将录制的女性声音减音，使声音像在子宫内听道的。与其他女人的声音相比，新生儿们更愿意听他们母亲的过滤后的声音，再次表明婴儿在子宫中已经熟悉了他们母亲说话的语调。</p>
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            <div class="studentcn article">
                <p>除了在母亲和孩子之间锻造一个初期的联系之外，早期接触悦耳的话语可能是学习说话过程的开始。在1993年的一项调查中，例如，比起外国口音的话语，两天大的婴儿更加喜欢倾听本地语言的录音。因为这么小的婴儿只能熟悉在子宫中听到的话语，结果表明婴儿最初对具有本地语言中音乐特性的话语感到舒适。</p>
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            <div class="english article">
                <p>In addition to forging a nascent connect ion between mother and child, early exposure to musical speech sounds may begin the process of learning to talk. In one 1993 study, for example, two-day-old babies preferred to listen to recordings of speech in their native language to those in a foreign tongue. Because such young babies could only have become familiar with such speech in the womb, the results suggest that the babies initially become comfortable with the musical qualities of their language.</p>
            </div>
            <div class="teachercn article">
                <p>早期接触悦耳的话语不仅培育母亲和孩子之间初期的联系，还可能是学习说话过程的开始。例如，在1993年的一项研究中，两天大的婴儿喜欢听本地语言的说话录音，而不喜欢听外语的说话录音。因为这么小的婴儿在子宫中只能是熟悉本地语言的说话，结果提示婴儿从一开始就对本地语言的音乐特性感到舒适。</p>
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        <div class="paragraph">
            <div class="studentcn article">
                <p>因此，音乐可能是婴儿学会复制语言的第一段话语；在婴儿能发出真正的单词之前，每当他们哭喊时，他们仿效本地语言的固有旋律。在2009年发布的一项调查研究中，德国的Würzburg大学的药学人类学家Kathleen Wermke和她的同事记录了新生儿的哭声——一开始音调上升，然后下降——对于那些出生在法语或德语家庭中的婴儿是这样的。调查者发现，法国婴儿的哭声大部分由升调部分组成，然而降调部分在德国婴儿的哭声中占主导地位。在升调在法国语言中及其普通，然而降调在在德国占主导地位。所以这项研究中的新生儿把他们在子宫中接触的话语中的音乐元素吸收到他们的哭声中，表明他们已经学会使用他们的第一语言中的一些特性。</p>
            </div>
            <div class="english article">
                <p>Accordingly, music may be the first part of speech that babies learn to reproduce; infants echo the inherent melodies of their native language when they cry, long before they can utter actual words. In a study published in 2009 medical anthropologist Kathleen Wermke of the University of Würzburg in Germany and her colleagues recorded the wails of newborn babies — which first rise and then fall in pitch — who had been born into either French- or German-speaking families. The researchers found that the cries of the French babies consisted mostly of the rising portion, whereas the descending segment predominated in the German babies' cries. Rising pitches are particularly common in French speech, whereas falling pitches predominate in German. So the newborns in this study were incorporating into their cries some of the musical elements of the speech to which they had been exposed in the womb, showing that they had already learned to use some of the characteristics of their first language.</p>
            </div>
            <div class="teachercn article">
                <p>因此，说话中的音乐成分可能是婴儿最先学习模仿的；在婴儿能发出实际词语很早之前，他们的哭声模仿的就是他们本族语言的固有语调。在2009年发表的一项研究中，德国Würzburg大学的医学人类学家Kathleen Wermke和她的同事记录了出生于讲法语或德语家庭的新生儿的哭声，其音调先上升，然后下降。研究者发现，法语婴儿的哭声大部分是升调，而德语婴儿的哭声主要是降调。法语中升调特别常见，德语中降调居多。所以这项研究中的新生儿把他们在子宫中接触的话语中的音乐成分融进了他们的哭声，表明他们已经学会使用他们的第一语言中的一些特性。</p>
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